A juxtaposition of concentrated rage and catatonic piano segments with classically trained vocals, full of bitterness and spite. This is the audio equivalent of I Spit On Your Grave with biblical overtones.

Steven Stapleton and co. pay tribute to Ur-document of industrial culture, by remixing it like every sane man would do. With religious reverence. Changez Les Blockeurs knows a priori that you can't improve the original album, so it takes a peak inside the legendary shed of the the Rupenus bros to worship every single squeak of it.

It's been ages since the last Organum album, that's why my excitement will be more than evident. Raven sounds like the last vestiges of life. It takes place within an empty but eerie setting that borders on the funereal, with a minuscule palette of decayed sounds. At first, this emptiness will be unsettling and your mind will try to fill the gaps of silence with the ambience of your space. As the record progresses, you will find yourself surrendered to this absence of sound, not worrying about the futile concepts of definitive beginnings and conclusive ends.

Anastasia Ax, a performance artist whose work evokes the spirit of actionism, meets the almighty Lasse Marhaug for the slow-burning fulfilment of the titular promise. Apparently, some objects are destroyed through some proper metal bashing, but the tape catches some subtle nuances that differentiates this badassery from your run-of-the-mill junk metal torture. You can almost hear the room's dimensions along with heavy breathing, shrieks, laughter, cries and of course the controlled feedback. That's why we're here for anyway.

You might have heard of the Bren't Lewiis Ensemble as members of the Butte County Free Music Society -a collective that gave voice to pranksters, weirdos and anti-musicians in the early 80s until now- but you certainly do know them as the vehicle of Seymour Glass, the publisher of Bananafish, the magazine that sheltered every obscure music that mattered in the DIY infrastructure. So, there's a method behind the ostensible randomness of their latest tape. I think. You can't be sure about anything that comes out of these guys.
Who cares about facts anyway? As long as this dadaist jam of surreal spoken word, reel-to-reel awkwardness, scratchy samples of wtfuckness, found sounds, readymade informecials and homemade electroacoustic non-sense exists, I don't. Highest possible recommendation to everyone who has loved Prick Decay and adored Smegma. And everything in between.

I had no idea about Worth or his releases for that matter, so I was caught off guard by this immense CD-R. Blood Possessed is a no bullshit, hate-filled phenomenon that involves some of the most intense moments in recent harsh noise purity, with a bludgeoning brutality that you can only find in the veteran section of the genre. Each individual sound has been layered, but not processed beyond recognition, so you can actually hear what lies beyond this solid cacophony. I swear this shit's gonna get better with every spin.

Corrupted rise from their ashes with the first 12" of the Hollow trilogy that will be concluded later. This time, the band chooses to explore further the dark ambient territory of Llenandose De Gusanos, that is playable both on 33 and 45 rpm. The former setting exhibits the droney side of things, with a seething sense of dread, while the latter instigates from the thick molasses of sound bursts of glorious noise, until they're suppressed again by the ominous hum.

Ideal Recordings provides us a huge public service by reissuing Riot, one of the very first examples of pure Noise assault. After his self-imposed exile on Japan back in 1984, John Duncan envisioned this record as an unbearable piece of music, a deliberate attack on the listener, but despite his effort to make something that ugly, Riot ironically became a key ingredient in the evolution of Japanoise as we know it. Behind the wall of static and shortwave randomness, you can trace a rich tapestry of metallic textures and a keen sense of physicality. The Black Sabbath sample is just a bonus.

After a couple of tape releases on Obsessive Fundamental Realism and Hiisi Productions, this anonymous Finnish project makes its official debut on Freak Animal. Grease District has everything you need from your harsh noise, be it the crunchy low end, the balls out attack or the angular turns. The few industrial touches are more than welcome, like the tight last track with its rhythmical hammering in front of the brutal soundstage and the lost-in-somewhere vocal snippets. More like this please.

Cruise (Force The Truth)

The sole purpose of this blog is to present the place between ugly music and beautiful noise. If an artist or a label feels that any link is inappropriate, just contact me and I'll remove it as soon as I can.